Lukas-Fabian Moser <l...@gmx.de> writes: >> I seem to remember that even in Bach's B minor mass (where E12 was not >> yet a thing) there is an enharmonic tie (or at least tonal repetition?) >> in the transition from "Confiteor" to "Et expecto". I mean, that >> transition is a tonal center nightmare anyway. > > In bar 138:
> Basically that is an example of enharmonic equivalence of diminished > 7th chords: The tonal centre in the preceding bars is clearly d (d > major with hints of d minor), so the diminished chord in bar 138 is > most probably first heard as f♯-a-c-e♭ (with expected resolution to g > minor), but is then being re-interpreted (and written) as f♯-a-b♯-d♯, > resolving to c♯ major functioning as a dominant to f♯ minor. > > My point is: Even without E12 tuning, this is clearly an example of > fully exploited enharmonic equivalence used as a "wormhole" in an > otherwise purely diatonic tonal system. There can be no question that > this is semantically a tie. Thanks for digging this up: I knew there was something like that in there. -- David Kastrup
